本文關(guān)鍵詞： 巴洛克繪畫(huà) 視覺(jué)隱喻 一般性 特殊性 隱喻類型　出處：《山東大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：西方繪畫(huà)并非刻板復(fù)制自然、描述人物,在簡(jiǎn)單的畫(huà)面之中往往可以分析出一個(gè)時(shí)代的理念和思想。巴洛克繪畫(huà)在繪畫(huà)史上意義重大,畫(huà)師輩出、畫(huà)作深刻,而且這一階段繪畫(huà)中常見(jiàn)的素材都可以被納入一定的系統(tǒng)之中。文章便是將這些素材均納入到視覺(jué)隱喻的系統(tǒng)之中,把視覺(jué)隱喻定義為同概念隱喻相關(guān)的一種思維方式,視覺(jué)主體通過(guò)視覺(jué)意象來(lái)理解和體驗(yàn)看不見(jiàn)的、難以捉摸的本體,這種思維方式是人們腦海中固有的,從原始思維到現(xiàn)代的種種視覺(jué)表達(dá),都可以看出視覺(jué)隱喻在表達(dá)和交流中的重要性。 視覺(jué)隱喻在繪畫(huà)上的具體表現(xiàn)是意象。據(jù)阿恩海姆的視知覺(jué)理論,意象既有具體性,也有抽象性,繪畫(huà)善于用具體的意象來(lái)表現(xiàn)抽象的理念,意象與理念相互映射構(gòu)成視覺(jué)隱喻并等待觀者解讀。解讀既可以從線條、空間、色彩等知覺(jué)刺激物入手,也可以對(duì)畫(huà)面中的意象進(jìn)行分類分析。視覺(jué)隱喻的理論可以通過(guò)萊考夫等人的概念隱喻來(lái)理解,用“源域”映射“目標(biāo)域”,通過(guò)視覺(jué)隱喻的解讀,我們能更好地理解繪畫(huà)這門隱喻的藝術(shù)。 其次,借助于視覺(jué)隱喻理論,可以證明巴洛克繪畫(huà)在視覺(jué)隱喻方面的特殊性。不同于過(guò)去封閉的、單獨(dú)的空間,巴洛克空間更加開(kāi)放且變動(dòng),主要原因是當(dāng)時(shí)的畫(huà)家傾向于圖繪風(fēng)格和明暗對(duì)照法；色彩在這一階段也漸漸脫離形體,畫(huà)家們?cè)诋?huà)中大量使用自己喜歡的色彩并且對(duì)色彩十分重視,一些畫(huà)家甚至不惜使用“四級(jí)亮度”刻畫(huà)色彩,脫離形體的色彩在畫(huà)面中極有詩(shī)意,抒情意味濃厚。 最后,對(duì)巴洛克繪畫(huà)中常見(jiàn)的視覺(jué)隱喻進(jìn)行分類,這里把意象簡(jiǎn)單分為視覺(jué)符號(hào)、生命體、人物動(dòng)作以及繪畫(huà)行為。在對(duì)這些類型的解讀中,可以發(fā)現(xiàn)畫(huà)家的意圖、當(dāng)時(shí)的社會(huì)狀態(tài)以及延伸出的內(nèi)涵。但是,我們對(duì)光圈、燭光、凝視、微笑、生命體的理解永遠(yuǎn)都是解釋的一種,我們無(wú)法還原繪畫(huà)中隱喻的各個(gè)意義層次,甚至?xí)驗(yàn)槲覀兊闹R(shí)結(jié)構(gòu)、自身的藝術(shù)素養(yǎng)乃至特定的生理機(jī)制對(duì)其中的隱喻產(chǎn)生誤解,然而,在藝術(shù)中,這種誤解是美妙的,是可以存在的。
[Abstract]:Western painting does not stereotype nature, describe people, in simple pictures can often analyze the ideas and ideas of an era. Baroque painting in the history of painting is of great significance, painters, paintings deep, Moreover, the common materials in this stage of painting can be incorporated into a certain system. This article is to bring these materials into the system of visual metaphor, and define visual metaphor as a mode of thinking related to conceptual metaphor. The visual subject understands and experiences the invisible and elusive ontology through visual images. This mode of thinking is inherent in people's minds, from primitive thinking to modern visual expressions. We can see the importance of visual metaphor in expression and communication. According to Arnheim's theory of visual perception, imagery is both concrete and abstract, and painting is good at expressing abstract ideas with concrete images. The mutual mapping of images and ideas constitutes visual metaphors and waits for the viewer to interpret them. Interpretation can be started with perceptual stimuli such as lines, spaces, colors, etc. The theory of visual metaphor can be understood by Lakoff's conceptual metaphor, "source domain" mapping "target domain", and through the interpretation of visual metaphor. We can better understand the metaphorical art of painting. Secondly, with the help of the theory of visual metaphor, we can prove the particularity of Baroque's painting in the aspect of visual metaphor. Different from the closed and separate space in the past, Baroque's space is more open and changeable. The main reason was that the painters at that time tended to draw the style and contrast the light and shade; the color was gradually disconnected from the form at this stage, and the painters used a lot of the colors they liked and attached great importance to the colors. Some painters even use "four levels of brightness" to depict color, which is poetic and lyrical in the picture. Finally, it classifies the common visual metaphors in Baroque's paintings, where images are simply divided into visual symbols, life forms, character movements and painting behaviors. In the interpretation of these types, the artist's intention can be found. But our understanding of aperture, candlelight, gaze, smile, life is always a form of explanation, and we can't restore all the meanings of metaphor in painting. Even because of our knowledge structure, our own artistic literacy and even the specific physiological mechanism, we can misunderstand the metaphor in it. However, in art, this misunderstanding is wonderful and can exist.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

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